Wavetrain, Women's Wagon

Hello, my 7th wagon and what a load it carries, women ! Girls are notorious for having difficulty sharing the limelight, they maybe more sociable then men, but sticking together is not their thing, breaking and making up is. The raincoats a case in point riding a feminist wave they had plenty of reasons to complain ( could it be all those years later Kurt took this to heart too much ?), anyway after their third album they moved on only to be revived by Kurt a decade later for another flare. The Marine Girls took some inspiration of them . The ESG sisters however were inspired by the likes of JB and Motown and managed an unlikely career that ended just as unlikely with the bankrupty of the Sugarhill Gang, still they were not forgotten and soldiered on as cult icons. Something Jayne Casey wouldn't have minded but her industrious Pink work never got the acclaim it deserved. Anne Clark, like Sapho have carved their own paths, strong women with their hearts in the right place.

***** ***** ***** ***** *****
Raincoats - Moving (83)
Marine Girls - Lazy Ways (83)
ESG - Come Away (83)
Pink Industry - Low Technology, Who Told You (82 * 94mb)
Anne Clark - Changing Rooms, Joined Up Writing (83/84)
Sapho - Le Paris Stupide (81)

***** ***** ***** ***** *****

Raincoats - Moving (83 * 268mb)

The Raincoats were one of the most experimental bands that immediately followed the initial burst of punk rock in the late '70s. With their minimalistic approach to guitar-driven folk-rock, the band developed a distinctive, jagged sound. The Raincoats were also one of the first all-female post-punk band. The original line-up of the Raincoats was Gina Birch on bass, Ana Da Silva on guitar, Vicky Aspinall on second guitar/violin & Palmolive (Paloma Romero), who had just left the Slits, on drums. Palmolive left shortly after the release of their first album in 1979 and was replaced by Ingrid Weiss.

When they were recording, the band gained a small cult following in their native England and an even smaller audience in America; they broke up in 1984, having released three studio albums. Nearly ten years later, the band became a hip name in alternative rock, thanks to Kurt Cobain's mention of the group in the liner notes to a Nirvana album. Geffen picked up the rights to the Raincoats' catalog and reissued their albums (with liner notes by Kurt Cobain & Kim Gordon) in late 1993 and 1994. The band reunited and toured with Nirvana in the U.K. before heading out on their own tour of the U.S. in 1994. Two years later, the Raincoats released Looking in the Shadows. Shadows to which they have returned.



01 No One's Little Girl 4:30
02 Ooh Ooh La La La 3:10
03 Dance Of Hopping Mad 5:30
04 Balloon 4:35
05 Mouth Of A Story 3:14
06 I Saw A Hill 3:05
07 Overheard 4:29
08 Rainstorm 4:30
09 Animal Rhapsody 4:29
10 Running Away 2:49

Raincoats @ Base
Raincoats @ MySpace

***** ***** ***** ***** *****

Marine Girls - Lazy Ways+Beach Party (83 * 274mb)

Inspired by the Raincoats and the Young Marble Giants, Marine Girls was formed in 1980 by three sixth form school friends; Tracey Thorn, Gina Hartman and Jane Fox in Hatfield, Hertfordshire, England, in 1980. At first, Thorn played guitar with Gina on vocals and Fox on bass. Since they knew no drummers, the group decided to focus on a minimalist approach to music. After Gina kept missing rehearsals, she was replaced by Jane Fox's younger sister, Alice Fox, on vocals; Thorn would eventually sing as well.
The trio recorded a tape called A Day by the Sea and sold it to their acquaintances. The Marine Girls eventually released two albums in the U.K., 1982's Beach Party and 1983's Lazy Ways. Lazy Ways was produced by one of the band's influences, Stuart Moxham of the Young Marble Giants. While attending Hull University, Thorn began writing songs for herself; she was only able to gig with the Marine Girls during holidays. From 1982 Thorn concentrated on her studies and her growing personal and professional relationship with fellow Hull student Ben Watt. The Marine Girls broke up after Thorn and Alice Fox had an argument following a concert in Glasgow, Scotland, in 1983. Thorn then recorded her solo album A Distant Shore before joining Ben Watt in Everything but the Girl. The Marine Girls formally disbanded in 1983. The Fox sisters recorded as Grab Grab the Haddock and are currently working as artists.

01 A Place In The Sun (2:29)
02  Leave Me With The Boy (1:49)
03 Falling Away (1:45)
04 Love To Know (2:50)
05 A Different Light (2:20)
06 Sunshine Blue (2:04)
07 Second Sight (2:54)
08 Don't Come Back (2:01)
09 That Fink.Jazz-Me-Blues Boy (1:33)
10 Fever (2:13)
11 Shell Island (2:26)
12 Lazy Ways (2:41)
13 Such A Thing.. (2:20)
14 You Must Be Mad (1:59)
Beach Party
15 In Love 1:53
16 Fridays 2:03
17 Tonight? 1:19
18 Times We Used To Spend 1:41
19 Flying Over Russia 2:05
20 Tutti Lo Sanno 2:21
21 All Dressed Up 1:46
22 Honey 2:02
23 Holiday Song 2:12
24 He Got The Girl 1:24
25 Day/Night Dreams 1:10
26 Promises 1:29
27 Silent Red 1:33
28 Dishonesty 2:16
29 20,000 Leagues 2:23
30 Marine Girls 1:39

***** ***** ***** ***** *****

ESG - Come Away (83 * 254 mb)

The four Scroggins sisters -- Deborah (bass, vocals), Marie (congas, vocals), Renee (vocals, guitar), and Valerie (drums) -- formed a group with the support of their mother, who bought instruments to keep her daughters busy and away from trouble; at the time, each sibling was teenaged. Basing their sound on a mutual love for James Brown, Motowna nd Latin music. This is the second album by the Scroggins sisters, a/k/a ESG -Emerald, Sapphire and Gold - .‘Come Away with ESG’ was originally issued in 1983 on 99 Records, the New York independent record company home to a host of New York underground artists such as Liquid Liquid, Glenn Branca and The Bush Tetras.

ESG’s first recordings were the classic triumvirate of ‘Moody’, ‘UFO’ and ‘You’re No Good’, all recorded at E.A.R.S. studio in New York for Factory Records and produced by the legendary Martin Hannett. After being released as a single on the Manchester label, a subsequent album was issued on Ed Bahlman’s 99 Records made up of these three recordings on one side and live tracks from Hurrahs night-club in NYC on the other. (note, my copy got nicked years ago).
ESG’s notoriety and credibility was firmly established by the time of this second album. Produced by label owner/manager Bahlman and recorded at New York’s Radio City Music Hall studios, the album gives the audience exactly what it wants. A killer re-make of ‘Moody (spaced out)’, instant classics such as ‘The Beat’ and ‘Dance’, punk-funk instrumentals such as ‘Chistelle’ (named after drummer Valerie’s new-born daughter and nowadays herself the guitarist in ESG!) and others - without a duff track in there.

It certainly wasn't by design that the South Bronx-based group ESG affected post-punk, no wave, hip-hop, and house music. They opened for Public Image Ltd. and A Certain Ratio, they released records on the same label as Liquid Liquid, they had their music sampled countless times, and they became a playlist staple at '70s dance clubs like the Paradise Garage and the Music Box. The group's only aspiration was to play their music -- simplistic in structure and heavy on rhythm -- and sell lots of records.

After their debut LP, Come Away in 1983 the group went dormant for several years. One major factor was Bahlman's decision to shut down 99. A legal battle with Sugarhill over Grandmaster Flash's sampling of Liquid Liquid's "Optimo" caused him financial and mental stress, with Sugarhill's fall into receivership -- and inability to award 99 their due settlement -- acting as the final straw.. ESG resurfaced for a number of small-label releases during this period, and a 1993 release was pointedly titled "Sample Credits Don't Pay Our Bills." Throughout the '90s, ESG's stature as an influential group began to rise, with groups like the Beastie Boys and Luscious Jackson citing them as a profound discovery. The renewed interest helped lead to another resurfacing that culminated in a 2002 album, Step Off, for Soul Jazz. With a revamped lineup that included Renee Scroggins' daughters, Nicole and Chistelle, Step Off was met with the consensus that the group had picked up exactly where it left off.



01 - Come Away
02 - Dance
03 - Parking Lot Blues
04 - You Make No Sense
05 - Chistelle
06 - About You
07 - It's Alright
08 - Moody (spaced out)
09 - Tiny Sticks
10 - The Beat
11 - My Love For You
xs
12 - Dance to-The Beat of Moody

***** ***** ***** ***** *****

Pink Industry - Low Technology (82 * 362mb)

One of the most notable groups to grow out of the late seventies Liverpool scene was Big In Japan. Members of the group included Jayne Casey, Ian Broudie, Holly Johnson, Budgie and Bill Drummond, all of whom went on to bigger things. Big In Japan played some gigs, recorded a couple of singles and then called it a day.

Jayne Casey then formed Pink Military 'Stand Alone'. The group revolved around a nucleus of Jayne and a guy called Nicky, , and they were supplemented by a different group of musicians for each record. Their first release, on Last Trumpet records, was a live EP recorded at Eric's and included early versions of songs which would later appear on their only LP. They then signed to the Eric's label and released another EP, by this time dropping 'Stand Alone' from their name. On 5/6/80, they recorded a session for the John Peel radio show. Then came the excellent album 'Do Animals Believe In God?'. And then Pink Military were no more.

Jayne continued the good work with Pink Industry (next time) who released several albums It was Zulu Records that would serve to release Pink Industry. Jayne teamed up with Ambrose and Tadzio (guitar, keyboards) to weave out some truly memorable tracks on- "Low Technology", "Who Told You, You Were Naked" and "New Beginnings" their final album.
Alas, the world didn't want to know, even with a couple of great John Peel sessions and a couple of great compilation packages coming out a couple of years after the original album releases, it was not to be. Jayne Casey would later move on to become heavily involved in running Liverpool's club phenomenon- Cream-



From "45" E.P., 1981
01 Is This The End 4:43
02 ~47~ 2:15
03 Final Cry 4:30
From "Low Technology", 1982
04 I Wish 2:56
05 New Aims 1:13
06 Don't Let Go 3:31
07 Creaking Doors 3:13
08 Enjoy The Pain 3:12
09 Remove The Stain (LP-Version) 1:15
10 Savage 2:38
11 Send Them Away 2:34
12 Heavenly 2:37
13 Is This The End (LP-Version) 2:57
Additional Tracks 1982 - 1983
14 Taddy Up 3:37
15 Cowboy Track 2:24
16 Remove The Stain 7" Version 1:44
17 Cruel Garden (Brother Bob Mix) 7:34
18 Elevator Operator 2:19
19 Separation 2:40
20 Time Is A Thief 4:21

Pink @ Base
***** ***** ***** ***** *****

Anne Clark - Changing Rooms (83/84 * 194mb)

Anne Clark was born the daughter of an Irishwoman and a Scotsman. At the age of 16, she left school. She took various jobs, one of which was as a nurse in a psychiatric hospital. Clark then got a job at the local record store (and label), Bonaparte Records. Punk rock was finding its way into London's music scene and totally matched Anne Clark's emotions.Clark soon became involved with the Warehouse Theatre, an independently-financed stage for bands, that was always low on cash. Although the theater's owners initially objected to the strange, pierced punk scene characters and their leather outfits. Anne managed to fill the theatre with artists like Paul Weller, Linton Kwesi-Johnson, French & Saunders, The Durutti Column, Ben Watt, and many others. She experimented with music and lyrics herself and first appeared on stage in Richard Strange's Cabaret Futura with Depeche Mode.

In 1982, Anne Clark published her first album, The Sitting Room, with songs written by herself. On the following albums, Changing Places (1983), Joined up Writing (1984)) and Hopeless Cases (1987), Anne benefited from an acquaintance from the Warehouse: keyboardist David Harrow, their curiosity with keyboards, synths and samplers led them to create songs and sounds that would provide blueprints for the electronic music of the 80s and 90s - Sleeper In Metropolis........Our Darkness...
1985 saw the release of Pressure Points and a collaboration with John Foxx, the founder of Ultravox. In 1986 she began working and writing with classically trained pianist Charlie Morgan and as well as joining her on her first US tour he also co-wrote material for the Hopeless Cases album. At the end of 1987 Anne moved to Norway which was to be her home for 3 years. The move to Scandinavia opened up further experiments with sound and music and she began working with Norwegian musicians Tov Ramstad and Ida Baalsrud. Along with Charlie Morgan the album Unstill Life was released in 1991.

Anne began working with Paul Downing, Martyn Bates and Andy Bell. With all the many co-writers, the various styles and experiments that have occured during her career, something immediately recognisable and consistent lies at the centre of Anne's work - a uniqueness present in every project which, whilst making Anne never completely acceptable to the mainstream music industry, offers a wholly original artist to the most important element of her work - her audience.In 1994 Anne decided to take the risk of touring with a purely acoustic band and the successful result of this can be heard on the live recording Psychometry made at the Passionskirche in Berlin in that year. In 1995 she released To Love And Be Loved, another magical blending of electronics and acoustics featuring collaborations with Martyn Bates, Paul Downing, Andy Bell and Chris Ellio.In 1998 Anne returned once again to the acoustic and folk/classical influences that have become increasingly important to her expression and, much to the disdain of the major record labels, but the acclaim of her audience and critics alike, she released Just After Sunset - a collaboration with Martyn Bates featuring translations of the poetry of Rainer Maria Rilke

Along the way Anne was introduced to Belgian act Implant who remixed Sleeper in Metropolis in 2003. It came to a new collaboration when Anne asked Implant to remix a couple of tracks which were performed in the Summer of 2004. New live performances with Implant and the acoustic project are ongoing..



01 - Contact (1:56)
02 - Sleeper In Metropolis (3:57)
03 - Poem For A Nuclear Romance (2:41)
04 - Wallies (4:02)
05 - Lovers Audition (2:10)
06 - Poets Turmoil No. 364 (2:47)
07 - Echoes Remain Forever (3:24)
08 - All Night Party (4:07)
09 - Pandora's Box (2:30)
10 - Feel (3:50)
11 - The Last Emotion (3:02)

Anne Clark @ Base

***** ***** ***** ***** *****

Sapho - Le Paris Stupide (81 - 53mb)

Sapho was born in 1950 to Jewish parents in the predominantly Islamic country of Morocco (Marrakesh, to be exact). When she was 16, her family emigrated to France, although Sapho continued her studies at a boarding school in Switzerland. By 18, she was living on her own in Paris, taking acting lessons, and playing guitar and singing on the streets. A short time later, a musician friend convinced her to audition for the famed music school, Le Petit Conservatoire de Mireille. Sapho soon abandoned her acting studies in favor of music. A demo tape that was shopped around led to a signing by RCA, who released Le Balayeur du Rex in 1977 to little notice. After a brief stint as a French journalist in New York, it was back to Paris, then to London to record her second album, Janis, released in 1980. Now fully back into (rock)music, Sapho, france's answer to Nina Hagen, but hers was certainly not her lifestyle. After another 3 albums she took a break to concentrate on a book of drawings that was eventually published.

Sapho returned to music in 1985, with Passions, Passons, which saw her leaving the rock sound of her previous albums to embrace the Middle Eastern sounds she had grown up with; leading to a series of concerts at Le Bataclan, where she began performing her arrangements of songs made popular by the great Egyptian singer Oum Kalthoum. The next few years saw Sapho branching out further: she published two novels, was involved with making a film about the Intafada, and performed in a Threepenny Opera, all the while still performing and recording her own music. Starting in 1992, she focused on the music of Oum Kalthoum, releasing a full album of that material, and touring the world, even performing in Jerusalem in 1994. Her next album, Jardin Andalou (1996), blended rock with Arabic and Andalusian elements. This was followed by Digital Sheikha, a more dance-based album for the Swiss Baraka label. In 1999, La Route Nue des Hirondelles was released, along with her third novel, Beaucoup Autour de Rien. She transformed La Route Nue des Hirondelles into a stage show, which she toured for the next couple years while also continuing with the Oum Kalthoum material. Returning to recording, Orients was released in 2003.



01 - Amoure Absence (4:06)
02 - Chanteur (3:08)
03 - Une Vieille Dame Sous Influence (3:27)
04 - Camion (3:14)
05 - Désir Sans Objet (3:50)
06 - Dispute De Voisins (0:25)
07 - Respect (3:30)
08 - Jument Dans Du Verre (2:40)
09 - A.B.C. (0:19)
10 - Les Mains D'Un Idiot (1:22)
11 - Dancing (1:12)
12 - Dealer (1:30)
13 - Dégoûtés (0:20)
14 - Requins Et Mondains (3:38)
15 - Jules (0:34)

***** ***** ***** ***** *****
All downloads are in * ogg-7 (224k) or ^ ogg-9(320k), artwork is included , if in need get the nifty ogg encoder/decoder here !